Goldberg Variations – ternary patterns for insomnia
with Andersson Dance
Barbican Centre, London
It’s easy to imagine a cool, modernist choreography made in response, with dancers in plain leotards forming chastely formal patterns, with here and there a sly nod to the dance patterns of the Baroque, and the keyboard player safely tucked away in the pit. Instead we had a thrilling reinvention of the entire piece, jointly conceived by Jonathan Morton, leader of the Scottish Ensemble, and Örjan Andersson, director of the Swedish company Andersson Dance.
The Telegraph *****
The production is quirky and lively at times, stunningly beautiful at others. The music harmonious.
London Unattached *****
To the trilling passages of Bach’s Variation No. 1 a dancer vigorously shakes his body, his limbs in ungainly positions. Then the string ensemble begins to shimmy too. Before long the classical strains have become the accompaniment to a chaotic opening scene. It’s a moment of pure abandon. This informal, light-hearted approach epitomises Scottish Ensemble and Andersson Dance’s collaboration…
The Stage ****
A thoughtful and teasing take on Bach from both dancers and musicians
The Independent ***
with Vanishing Point theatre company
Various venues, Scotland
a hypnotic hybrid that is in equal parts monologue and classical recital
The Times ****
The sheer lack of glamour in Peter’s story […] forces us, like Goldsmith’s character, to make our own journey into the heart of the sound, and into its intense and beautiful conversation between human consciousness and the universe.
The Scotsman ****
In this cross-artform collaboration between Vanishing Point theatre company and the Scottish Ensemble […] Goldsmith’s punchlines come through four pieces by Estonian composer Arvo Part. With the Scottish Ensemble playing them live, as Goldsmith stands among the twelve musicians, it looks like they might have been conjured from her own mind in order to offer some kind of solace.
The Herald ****